Grateful for these highlights:

I played the Violin Concerto No. 2 by Georg Friedrich Haas in Porto, Portugal with the wonderful Orchestra of the Casa da Música and Baldur Brönnimann. There was a standing ovation and a terrific, thorough review of the concerto from the Spanish magazine Mundo Clasico, which also said:
“After the Haas concerto, Miranda Cuckson gave us something extra.. what was done by the American violinist in the ‘Andante’ of the Sonata in A minor BWV 1003 (c. 1720) was impactful, going from the microtonality of Haas to the fullness of a Bach whose double-stops spurred Cuckson to explore and handle the polyphony of this Andante not only with marvelous technique, but with a warmth and beauty of sound as I have rarely heard in these Sonatas and Partitas (and without gut strings, or baroque bow, or “historical” interpretation). A moment, therefore, of genuine beauty; in essence, the most refined and intense that we have heard this afternoon in Porto.”

Also, much appreciated from a listener: “I have no word to express my feelings about the concert. Haas’s music comes from another dimension and you get all the atmospheres. I really enjoyed the piece. Your sound is full of color, force and humanity. And thank you for the beautiful postlude.”

2018 also ended with two nice accolades: David Wright at New York Classical Review chose my concert with Michael Hersch at National Sawdust as one of his top ten concerts of the year. And Anthony Tommasini of the New York Times chose a movement from my recording with Blair McMillen of Harold Meltzer’s “Kreisleriana” as one of the 25 best classical tracks of the year.  It’s on Harold’s new album “Songs and Structures” on Bridge Records. Check it out!